USA Today's Scores

  • Movies
  • TV
For 3,466 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Gosford Park
Lowest review score: 0 Idle Hands
Score distribution:
3,466 movie reviews
  1. Proudly stupid, silly and gory.
    • USA Today
  2. Not so admirably, the film feels at times like a giant commercial for Universal Studios.
  3. Washed away by drippy plot. [16 January 1998, p. 4D]
    • USA Today
  4. Fun at times and tedious at others, it's an action-adventure fantasy aimed particularly at gadget-loving boys.
  5. While the jokes are obvious and the romance formulaic, a good-natured sensibility saves the film from being too hokey. The individual parts may not work, but the sum remains entertaining.
  6. Been-there-seen-that wannabe laughfest.
  7. Only a truly dreadful story could make 81 minutes seem like an eternity. And Space Chimps is just that leaden experience.
  8. Though it doesn't fully resonate as a romance, it is effective as a character study.
  9. Viewers seeking a fresh comedy, a seductive romp, or even just an escape from boredom for a couple hours will be left dismally unsatisfied by this stilted, nearly humorless, non-titillating slog.
  10. Audiences everywhere will tune out long before the projector does.
    • USA Today
  11. The movie spends too much time wedging the couple into a May-December moment, where Crystal cracks nostalgic about the good old days. It's sweet, but it grows old.
  12. This comedy deserves credit for taking a decided viewpoint — and delivering a heartfelt if occasionally misguided message.
  13. By the time the movie reaches its protracted conclusion, it feels like a slog. Pacino has a few funny lines, as does Leguizamo, but not nearly enough to save the film from collapsing under the weight of its own self-righteous tedium.
  14. Each actor does his own thing for his own audience demographic.
  15. A tribute to a giant leap for mankind feels like a clumsy shuffle backward for animation.
  16. Conan the Barbarian lives by a pretty simple ethos: He lives, he loves, he slays. What he doesn't do, alas, is act.
  17. The character played by lead Paul Giamatti is a dead-on Shyamalan protagonist: emotionally distanced and something of a train wreck.
  18. While it has the requisite amounts of comedy and romance, it's actually more of a buddy movie. Think "Sex in the City," bro-style.
  19. This film is so superficial and shifts so jarringly in tone that nothing feels authentic -- not Bacon's hard-working husband and father, nor his maniacal vengeance seeker.
  20. The result is far from perfect, but to its many merits, add timing. You never get a movie with this kind of story in mid-August.
  21. One of the film's biggest problems is that Richie is an unsympathetic and rather dim character. The badly drawn role does the likable Timberlake no favors.
  22. It's mystifying how such a muddled and silly movie drew the talented cast it did.
  23. Sharp satire or feel-good foolishness? Silly sap won out.
  24. The film is one long Costco joke - but the punch line is never all that funny.
  25. Alpha and Omega is one of those rarities in the modern era of Hollywood animation: bad.
  26. The tagline for College Road Trip is "You Can't Get There Fast Enough." But for those who sit through this humorless and massively predictable movie, a more apt phrase would be: "You Can't Get Out of There Fast Enough."
  27. Terry Gilliam's “12 Monkeys” can teach The Thirteenth Floor a little something about how to have fun with time travel. And with one number less. [28 May 1999, Life, p.7E]
    • USA Today
  28. As if this drivel weren't bad enough, the ending blatantly threatens a sequel
  29. If there was any doubt that most things in society have been dumbed down in the last couple of decades, Dumb and Dumber To could be exhibit A.
  30. Four is so cobbled with bits of other sci-fi and comic-book movies, there's little to distinguish it.
  31. It's a story that feels familiar at best, hackneyed at worst, which is surprising and disappointing, as director Tom Vaughan also made last year's "Starter for 10," a charming British coming-of-age comedy.
  32. Perhaps Martin should go back to taking chances and writing original work.
  33. Bonds are tested and feelings hurt, but who really cares? The story takes predictable turns, embraces clichés and dodges all humor.
  34. You can't accuse this film of bogging down in cheap psychology, yet you come out dissatisfied and without a clue about what made this person tick.
  35. Rambo III is hardly the first Stallone-y baloney to climax with a commie wipeout; it is the first to palm off its star as the product of a Buddhist monastery. Like, whew. Rambo in a monastery is almost as stomach-turning as E.T. in a brothel. [25 May 1988, p.1D]
    • USA Today
  36. A supernatural action thriller, is jangly, jarring and violent. But more disconcerting is watching the sweet-faced Dakota Fanning swear, get drunk and pack heat -- in both fists, no less.
  37. Mirren is about the only reason this slow-moving revenge tale tingles at all.
  38. Even at its best, the movie plays like a clip reel.
  39. At least Van Damme parodies himself just enough to avoid an all-out battle of the blands . At least director Roland Emmerich slyly allows supermarket Muzak to play during Lundgren's one big emoting scene. [10 July 1992, p.5D]
    • USA Today
  40. Grudge could have saved itself with a rousing finale, but the buildup is so tedious you just want the fight to end.
  41. Gets muddled in slapstick and crude humor.
  42. There's nothing sleazier than sleaze that fails to titillate, and this drab blight on a hot cast is as sleazy as a preordained hit ever gets. [07 Apr 1993 Pg. 08.D]
    • USA Today
  43. Although about as authentic as Chef Boy-Ar-Dee, Martin at least gets to dress funny. Joan Cusack's D.A. looks dowdy and is misused. Carol Kane's grocery-store siren looks slutty and is underused. And as a cop, Melanie Mayron should slap cuffs on her hairdresser. [20 Aug 1990, p.4D]
    • USA Today
  44. Waterlogged trip to nowhere. [13 February 1998, p. 3D]
    • USA Today
  45. Don't expect the seventh Star Wars film here. Star Wars: The Clone Wars is more like a long Saturday morning cartoon.
  46. It doesn't help that the performances are bland (particularly those of Christensen and Bilson) and that what comes out of their mouths is uninspired. Short on imagination and anchored by a wan hero, Jumper is a flight of fancy that never fully takes off.
  47. The story, though initially intriguing, is dicey. A seminal social satire has been spun off into a passionless romance and a wan comedy.
  48. The Expendables 3 is as boneheaded and disposable as it sounds.
  49. This sequel to the clever and funny first "Transformers" not only is disappointing, it will give most people a throbbing case of metal overload.
  50. Women may appear a bit smarter here, but both sexes are portrayed as superficial and silly.
  51. It's unclear why the writers bothered to update the cartoon, unless it was to expand the possibilities for quips and jokey ideas. If so, they failed in their mission, as the movie elicits few laughs.
  52. Flippantly hip without any solid laughs, Life strains to be the flick more offbeat. [24Oct1997 pg06.D]
    • USA Today
  53. There's not a cliché that isn't nailed.
  54. Happily, MacLaine (who can pull off these lovable eccentric dowagers while she's sleeping) and Fraser, showcasing a previously untapped flair for romantic comedy, keep Lake on her toes. [19 Apr 1996, p.1D]
    • USA Today
  55. It's a pretty good ride even if it blatantly steals some of its best stunts from "American Graffiti" and "Grease."
  56. Goo oozes without mercy in A Walk to Remember.
  57. Stuffing painters, writers and, naturally, Gustav Mahler (Jonathan Pryce) into about 90 minutes, the film comes off as little more than a handsomely mounted scorecard of sexual escapades.
    • USA Today
  58. Saoirse Ronan's talents are wasted on a foolish dual part in this dull sci-fi fantasy.
  59. It has been said that no one sees a movie for the sets, yet an exception might be made here for Horizon's visually staggering production design -- truly an event itself. The story, though, is such a transparent variation on the Alien ouevre that your tolerance may hinge on how much you can shrug this off. [15Aug1997 Pg03.D]
    • USA Today
  60. Post Grad is a collection of unfunny, insipid and predictable vignettes in search of a movie.
  61. The dashing Jackman plays his part well enough, but the script doesn't provide sufficient "Indiana Jones"-style bons mots to win us over.
  62. An uplifting but occasionally treacly tale of transcendent grief, opted to venture where angels go fearlessly.
  63. Preposterous, goofy and a clear ripoff of “Planes, Trains and Automobiles,” Identity still manages to make off with just enough laughs to work, thanks to the wondrous McCarthy, one of the few actresses in Hollywood allowed to showcase her wit and charisma as much as her physique.
  64. A moviegoer's nightmare. The story is incoherent, inane and interminable.
  65. Should the desire to see a clever zombie movie strike, try the recent remake of "Dawn of the Dead" or last year's "28 Days."
  66. Though 102 Dalmatians digs up little new ground and muzzles its villain, it does have a fetching sense of functional fun now and then.
  67. The lark-ish Perfect Score is on the high side of the time-killer it sounds like.
  68. The thin premise here seems better suited to a sitcom episode than a full-length feature. That's not surprising given that director Mark Mylod's résumé includes British TV comedies and "Entourage" episodes.
  69. Family Weekend is the kind of dark-for-dark's sake, wannabe quirkfest that proves indie films can be just as clichéd and vapid as the most soulless Hollywood movies.
  70. What do you call a filmmaker who thinks imitating a screen benchmark can make up for emotions that are evading her actors -- Clueless.
  71. Anyone who pays to see it will certainly feel as if he has been clipped.
  72. Lacks tension or mystery. Even the courtroom scenes feel artificial.
  73. Yogi Bear is a big boo-boo.
  74. I cry for I Spy— or I would if this latest and laziest imaginable of all vintage-TV spinoffs were capable of engendering an emotional response of any kind. Comas are physical, not emotional.
  75. Plays a little like a pacifistic variation on Bruce Lee's "Enter the Dragon."
  76. This wrongheaded biopic that bears her name does nothing to burnish her legacy. In fact, the tedious movie lacks any insight into the characters involved, and surely would have the late Princess of Wales rolling in her grave. And it can't be easy on her sons to see their mother depicted in such a one-dimensional fashion.
  77. You can feel the movie going wrong in the first scene.
  78. The standout performances by Sobieski and Skarsgaard, and the sense of foreboding aided by the deliberate pace of this suspenseful script, polish off the rough edges.
  79. You can always judge a sci-fi thriller by its aliens. What does Planet offer -- Space roaches.
  80. The biggest mystery in this wannabe thriller is why such topnotch actors would sign on for such a dreary movie that amounts to a mediocre soap opera.
  81. Bewitched does have a few laughs, thanks to Ferrell's antics. And some of the wittiest contemporary comedians are on board, notably "The Office's" Steve Carell and "The Daily Show's" Stephen Colbert, but they are underused.
  82. When it comes to comedies about pregnancy, "Knocked Up" and "Baby Mama" delivered more. This sitcom style exercise in planned parenthood is blandly predictable. If it were a cheese, it would be Velveeta.
  83. Ghosts can't make up its mind whether it wants to be a racy raunchfest or a sentimental celebration of soul mates. So it ends up being a sappy, sleazy hybrid.
  84. Sporadically amusing but sometimes slogging.
  85. When so many PG-13 movies are encroaching on R-rated turf, it's heartening to see a film that responsibly approaches its audience.
  86. Cloying and dated movie.
  87. Shyamalan isn't drawing the caliber of performances from his actors as he used to. Who can forget Haley Joel Osment's haunting portrayal in The Sixth Sense or that of Toni Collette, who played his mother, or Bruce Willis in arguably his best role?
  88. Clumsy urban thriller.
  89. A Disney Thanksgiving movie that plays like a Halloween holdover is odd enough. Even so, it wouldn't be that bad if you stuck your hand into the trick-or-treat bag and found a hefty, succulently dressed and edible turkey instead of the other kind.
  90. Get Hard is hard to sit through and hardly funny. So unless you're really hard up for entertainment, stay away from this tone-deaf raunchfest.
  91. Deep within Law Abiding Citizen lurks a thought-provoking movie. But most of what we see on the screen is implausible, superficial and only marginally involving.
  92. While it's billed as a "re-imagining" of the horror franchise, this Friday is more like a rehash, delivering just what you expect and nothing more.
  93. The humor, largely centered around bodily functions and bathroom habits, is almost exclusively sophomoric.
  94. When it aims for humor, it feels overwrought and clichéd.
  95. A little soon for any movie this millennium to reunite overacting Matthew Lillard, underacting Freddie Prinze Jr., feigning mousy Linda Cardellini and the more obviously lip-glossy Sarah Michelle Gellar.
  96. For a big-screen disposable, Doom has a few jolts, a few good laughs and an attractive female lead to whom you want to say, "What's a nice girl like you doing on a Mars like this?"
  97. This insipid, and sometimes awkward, blend of animation, computer generation and live action wastes a ton of talent and lacks a true sense of whimsy.
  98. You don't have to believe in far-fetched tales of mysterious beams of light and alien abductions to get caught up in The Fourth Kind.
  99. It would have worked better if the silly premise had been played for farcical satire, rather than following the cookie-cutter rules of the romantic comedy playbook.
  100. Give Dozen a slight edge to the mournful "Yours, Mine & Ours" as a holiday season bottom-feeder, because Martin and Levy are better at slapstick than Dennis Quaid.

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